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Sant Agostino (078/31) Sant’Agostino in Campo Marzio Sant'Agostino is an important 15th century minor basilica and parish church in the rione Sant'Eustachio, not far from Piazza Navona. It is one of the first Roman churches built during the Renaissance. The official title of the church is Sant'Agostino in Campo Marzio. The church and parish remain in the care of the Augustinian Friars. The dedication is to St Augustine of Hippo. [2] History: The convent of Sant’Agostino attached to the church was founded in 1286, when the Roman nobleman Egidio Lufredi donated some houses in the area to the Augustinian Friars (who used to be called "Hermits of St Augustine" or OESA). They were commissioned by him to erect a convent and church of their order on the site and, after gaining the consent of Pope Honorius IV, this was started. [2] Orders to build the new church came in 1296, from Pope Boniface VIII. Bishop Gerard of Sabina placed the foundation stone. Construction was to last nearly one and a half century. It was not completed until 1446, when it finally became possible to celebrate liturgical functions in it. [2] However, a proposed church for the new convent had to wait because of its proximity to the small ancient parish church of San Trifone in Posterula, dedicated to St Tryphon and located in the Via della Scrofa. It was a titular church, and also a Lenten station. In 1424 the relics of St Monica, the mother of St Augustine, were brought from Ostia and enshrined here as well. The title was passed on to Sant'Agostino when the new church was completed in 1484, but the older edifice was kept as a subsidiary church in the complex. It was used as the headquarters of a Confraternity of the Blessed Sacrament until 1604, the year after the newer church became the parish church instead. The old (078/31) church was demolished in 1736 as part of the project by Luigi Vanvitelli to extend the previously cramped convent buildings. [2] The church was rebuilt on a larger scale in the same century, during the pontificate of Sixtus IV. Funding was arranged by Guillaume Cardinal d'Estouteville, Bishop of Ostia and Velletri, who was the papal Camerlengo and protector of the Augustinian Friars. The design was entrusted to the architects Giacomo di Pietrasanta, Sebastiano Fiorentino and Baccio Pintelli. Construction began in 1479, and was finished in 1483, the year that Cardinal d'Estouteville died. [2] [a] In the 16th century, a lot of work was done in the interior. One of the artists commissioned for the decoration of the church was the young, but already famous, Michelangelo. In the early 16th century, he started painting The Entombment of Christ for the church. He never finished it, and the uncompleted work has made its way to England, where it can be seen in the National Gallery in London. [2] In 1660, there was an Apostolic Visitation in the church, and more work was carried out after that - presumably, it became easier to get funding after that important occasion. The plan as it is today is a result of the work done in that period; it was drawn by Francesco Borromini in 1661-1662. [2] During the late Renaissance in Rome, before the Sack of the city in 1527 ruined everything, the church was the focus of a brilliant circle of scholars and humanists centred on Johannes Goritz from Luxembourg. This wealthy and successful member of the Papal curia was responsible for the statue of St Anne with Our Lady and for the fresco of Raphael (one of his circle) above it, and this was because he had a devotion to St Anne and wished to be buried below the statue (he wasn't, because he was forced to flee the city during the Sack). [2] The convent was restored in the 18th century, the work was completed in 1756. By then, the dome and the cross-vault of the church were in a bad state, and it was decided to start restoration work there. Luigi Vanvitelli was commissioned to lead the work. As he was also working on the Royal Palace at Caserta, most of the actual work fell to Carlo Murena. The hemispheric dome on the cylindrical drum, the first example from the Renaissance in Rome, was changed into a bowl-shaped vault on pendentives. The church was closed while restorations were carried out, and was reopened in 1763. A new and more spacious sacristy was built at the same time, and the bell tower was altered. [2] Another restoration was carried out under Pope Pius IX (1846-1878); it was completed in 1870. The floor was renewed, pillars were encased in marble and frescoes were added in the nave, transept, choir and in the chapels. The altars which used to exist at the bases of those pillars in the nave were removed. [2] The most recent work was carried out in 1998-2000 by the Soprintendenze di Roma per i Beni Ambientali ed Architettonici e per i Beni Artistici e Storici, the authority responsible for among other things the architectural and artistic patrimony of Rome. [2] Exterior: The Renaissance façade, one of the first in this style, was built using travertine said to be from the ruins of the Colosseum. It was executed by Giacomo di Pietrasanta, from a design by Leon Battista Alberti and is raised rather imposingly above the level of the piazza. The balustrade on the stairs was added in the 18th or 19th century. [2] The façade itself has two storeys, divided by a full entablature supported by four thin and shallow Corinthian pilasters with rather debased capitals. Unusually, above this entablature is a trapezoidal (078/31) strip formed by repeating the cornice. On the architrave at the top of the lower level is an inscription dating the façade: [2] GUILLERMUS DE ESTOUTEVILLA EPISCO.OSTIEN.CARD.ROTHOMAGEN.S.R.E. CAMERARIUS FECIT MCCCCLXXXIII «William d'Estouteville, Bishop of Ostia, Cardinal of Rouen, Camerlengo, built this in 1483». There are three entrance doors, a large one in the middle which is crowned by a triangular pediment with the arms of Cardinal d'Estouteville held aloft by angels (in marble, 15th century), and a smaller one on each side. [2] The storey is divided into three vertical sections by the pilasters, with one door in each section. Above each of the aisle doors is a small oculus or circular window, deeply set with a moulded surround and enclosed in a square frame. The side doors have simple marble door-frames. Between the doors and the oculi there are horizontal rectangular panels on the otherwise smooth façade, and two narrower panels are between the oculi and the architrave of the entablature. This arrangement is reminiscent of medieval decoration, where the panels would be filled with paintings, mosaic or reliefs. It is likely that the frames here should have been filled with artworks, probably reliefs, but that this was never accomplished due to a lack of funds after the death of the cardinal in 1483. Above the central door is a painting, The Handing over of the Augustinian Rule. It was added at a later date, and has been damaged by the ravages of time. [2] On the upper level there is a central oculus, much larger than the ones on the lower level but of exactly the same style. As is common in Romanesque style churches, both ancient and modern, this upper storey covers only the middle nave section of the edifice behind. The corners of this storey is occupied by a pair of Corinthian pilasters, and to the sides are two gigantic double volutes which hide the supporting buttresses and which were added by Vanvitelli. These are charmingly embellished with rosettes and stylized water-sprays. The crowning triangular pediment is dentillated, but its tympanum contains nothing but a rather ridiculous little arched window. It is almost certain that a relief was proposed here. [2] The visible external aspects of the church incorporate surviving features from the original mediaeval church. The side entrance was created in the 17th century by rebuilding a side chapel. The door is from the 18th century, as is the circular window above it; they were installed by Vanvitelli. It's also possible to see the bricked-up Renaissance windows, which used to open onto the side chapels. The arms of Cardinal d'Estouteville can be seen on one of the buttresses. Between those are the newer windows, opening onto the left aisle. On the upper level, are traces of windows which opened onto the central aisle. [2] The campanile or bell tower is tucked into the corner between the nave and the right transept, and is not easy to see. It was given its current form in the middle of the 18th century when it was made lower and a new bell chamber was built with a large arched sound-hole on each face. The top of this has a gable on each side, and above the roof is a little Baroque cupola with a square drum and an octagonal lead cap having an ogee-curved profile. [2] Adjacent to the church, on the right side, is a former Augustinian monastery, once the residence of the order's general. It was sequestered by the Italian government in 1873, and has been converted into government offices. The Angelica Library, founded in 1605, is still located here. It is named after the founder, the Augustinian Angelo Rocca, who became titular Bishop of Tagaste, Numidia, the same year.
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